Alumni Network Homepages

CLASS FEATURE

MICHELLE SULLERA
MC High Class 1989

Manila Standard Today - The opera singer is an engineer (July 2, 2008 Issue)
Manila Bulletin - A gem of a “Butterfly” in 2nd U.P. opera season(April 18, 2007 Issue)

Manila Standard Today - July 2, 2008 Issue

The opera singer is an engineer

By Isah V. Red

The centennial celebration of my alma mater, the University of the Philippines, is unleashing many talents from the campus; the latest of them is Michelle Sullera.

No, not many are aware of whom she is, including myself.

Michelle, I have learned, was UP’s first female Chemical Engineering student who graduated summa cum laude in 2007. That is an achievement that definitely is nothing to be taken lightly, and anyone who had been to the UP knows that. In my time, engineering students had always been regarded as the university’s crème de la crème.

So, for Michelle to even mingle with the predominantly male population of the college was no mean feat.

Then she topped the board exam. No she wasn’t second or third. She was no. 1. Isn’t it too much?

And she wasn’t’ content with that. She went to the US where she worked and at the same time had matriculated at Stanford University in California for a master’s degree in Petroleum Engineering.

That wasn’t enough to make her happy. Two years later, she dropped everything, packed her bags and boarded a flight back to Manila.

She found herself back in the UP campus, a student in the College of Music. Recently, she graduated from the college.

Last night, Michelle led the cast of Giacomo Puccini’s Madama Butterfly, a production of the University of the Philippines College of Music Department of Voice, Music Theater, and Dance at the Isabelo de los Reyes Auditorium in UP. The other singers in the opera directed by Katherine Molina included Raymond Leslie Diaz as Pinkerton, Lawrence Jatayna as Sharpless, and Sara Samala as Suzuki.

Too bad, this was just a one-night performance.

The opera was the College of Music’s contribution to the centennial celebration of the university, although, the opera celebrated its 100th year in 2004.

Interestingly, it was the second act of Madama Butterfly that was presented as a graduation recital in 2007 that gave College of Music Dean Ramon Acoymo the idea to stage the full opera.

Michelle Sullera played Cio-Cio San, and previous to this one she also played Ms. Pinkerton in Menotti’s Old Maid and the Thief; and First Witch in Mozart’s Die Zauberflote. Back to top

Manila Bulletin - April 18, 2007

A gem of a “Butterfly” in 2nd U.P. opera season

By NESTOR N. PILAR

“Madama Butterfly” staged at the Abelardo Hall in UP Diliman last March 30 was a worthy successor to “ La Serva Padrona” which opened the 2nd UP College of Music Opera Season.

Dean Ramon Acoymo has ingeniously interwoven three voice recitals into the opera season: "La Boheme" on Feb. 20; " Il Segreto di Susanna" on March 26; and "Madama Butterfly."

This Butterfly is notable for a number of reasons: Ma. Michelle Sullera, the lead singer (recitalist) looked, acted, and sang like the veritable Cio Cio San.

Her voice had a true lyric ring to it, an instrument she used well to convey joy or anguish as called for. Her eyes and facial expression communicated disdain for Goro, respect for Sharpless, and tenderness for son Dolore.

She deftly used body language enchanced by a dark long gown and hairdo that subtly hinted that Madama was Japanese.

Michelle has a bachelor’s degree in chemical engineering from UP and a master’s in petroleum engineering from Stanford University before dabbling in music.

Michelle was given strong support by Raissa Samala (Suzuki), Lawrence Jatayna (Sharpless), Eraño Yongco (Goro), and Leslie Diaz II (Prince Yamadori).

Special mention goes to Jesse Emmanuel Pitogo who, as the child Dolore, captivated the audience with his good looks and demeanor.

Geraldine Gonzales gave sensitive assist at the piano. Although the props were at a minimum, Joey Nombre’s lighting helped create an illusion of a Japanese dwelling. For all these, kudos to Katherine Molina, voice teacher and director.

Ermano WolfFerrari’s "Il Segreto di Susanna" is a short one–act opera built on a simple plot.

Count Gil suspects Susanna, his bride of one month, of infidelity because of her strange actuations. The "secret" proves to be not one of infidelity but one of addiction to tobacco.

Relieved that Susanna is faithful, the Count joins his Countess in the blissful habit of smoking.

Mary Louise Aviles Macanaya, the recitalist, essayed the soprano role of Susanna with ease and self–assurance. Her stint with the Madrigals must be one source of confidence.

Christopher Amado Ong was a competent Count Gil. On the upside, this production was short and simple, and the plot was effectively communicated, thanks to the actors and program notes.

This listener, though, had problems with the music. The score for the vocalists was not melodious (clearly Wolf-Ferrari was no Verdi).

Since the vocals were unadorned, many times verging on recitatives, I thought it was tough on the singers who had to sustain the notes usually at the end of a phrase.

In contrast, the accompaniment, played on the piano magnificently by Mark Anthony Carpio, was incessantly and pleasantly flowing as in a rippling brook.

"La Boheme," like Butterfly is a favorite operatic fare hereabouts. Thus, there were no problems with the audience appreciating the plot and the melodic line.

This one was memorable because it proved that Aileen Cura can still produce the pure tones she is known for.

Jeremiah had his big moments in the aria "che gelida manina" and in Mimi’s dying scene. Obviously overtaken by jitters in the opening scenes, he had pitch problems particularly in "che gelida".

In any case, we should welcome any addition to the thinning ranks of talents who opt for classical singing.

The opera season at UP Diliman is remarkable for a couple of reasons.

First, it adheres to Dean Acoymo’s doctrine that opera should not be considered elitist. Moreover, opera should entertain much like the telenovelas of today, and thus to appeal to the span of attention of contemporary audiences, opera must be short and sweet, lasting not more than an hour.

Secondly, in an effort to make opera accessible to new audiences, the first and second UP opera seasons were for the most part free.

Certainly this may not be a sound policy as money is needed for future seasons. Free admission has been made possible by interweaving opera recitals as part of the season.

The UP College of Music should be commended for its initiatives in advancing the cause of opera as a popular and contemporary art form.

As postscript let us ponder: where do we go from here? Some stocktaking must be done perhaps beginning with the UP College of Music, extending to all other stakeholders such as the schools of music, teachers, students and parents, practitioners, state–run institutions, music foundations and donors whether firms or individuals, and allied artists (orchestral, choral, dance and theater groups).

Is it time to call a summit led either by CCP, POC, or UP on the occasion of its centennial?

Just a thought: if opera is to penetrate the Pinoy consciousness, a two-pronged attack may help.

First, schools that double up as opera companies like UP, UST or St Scho may organize an interscholatic search for a campus diva or divo, let it snowball into a regional then a national search for pinoy diva or divo?

The national search may be a TV event sponsored by a local firm hosted by Ryan Cayabyab, Nolyn Cabahug, Fides Asencio and a wacky soprano like Katrina Saporsantos? Back to top